Tag: ballet attitude devant

In ballet, there are a million rules, but within these rules, there is flexibility based on pedagogy or approach. There are ways to “cheat” a position or “fix” or “make it look better than it really is”… All of these ideas are technically not the best thing, but the reality is, that not every body type can achieve certain positions based on the Russian or French Aesthetics/Technique. Now there are two positions in ballet that can’t be cheated, they are two of the hardest positions: Ecarté Derrière and Attitude Devant. The later being used quite often. The hard thing about these two positions is the ability to identify turnout, flexibility and strength without using the spine. In my opinion, attitude derrière is the hardest position in ballet. (you can disagree…)

So, as a student growing up, I would hear “Shape the foot!” and “Turnout more!” and my favorite one, “You should be able to balance a hot cup of tea on your front foot.” Yes, that is the ideal, but not every bodytype can find that position. Additionally, when I was growing up, teacher would push and prod at my hips, which is probably why I have had to have two hip surgeries. They probably assumed because I had a hypermobile back, that I had flexible hips as well… Which was not true…

Now as a teacher, attitude front has become the bane of my existence. That is a lie, ecarté is. But attitude devant seems to be a position every student struggles with. Here is why:

You have to flexibility in your hamstring, glutes, and hips. In order to have that gorgeous line, your flute has to be flexible enough to release so the hip can rotate the femur head back. With that being said your hamstring can’t get in the way. Your hips also have to have the flexibility to let this process happen without any shift in hips (lateral shifting or tipping) or in core.

A student has to have a strong understanding and grasp on their turnout. If a student doesn’t know how to rotate the hip outwards or laterally, they will struggle with the concept of rotating the leg up, and instead, they grip in the quad and lift. Then with the quad gripped, the leg can only rotate so much, and only gain a certain amount of height.

Students need a very strong and connected core. Because ballet is so core intensive, if you don’t have a connected core, your hips and back can easily become displaced and the dancer will develop poor alignment habits.

The ideal line of attitude front should be that the heel and the knee should be in a line. If your body can’t achieve the ideal, then it should be higher knee than heel with the most rotation possible. Then for those who are extremely hypermobile or hyperflexible, the rules get bent and the heel becomes the highest point of the line with the knee dropping down towards the floor and so on. This is becoming the standard for attitude front, but the reality is, not everybody can achieve this line. The line of attitude front is hard because of the turnout factor.

So, how do you even get into attitude front?

There are a couple of schools of thought. The first being the more common… A lot of schools teach the attitude front from the Sur le coup de pied position. Which is the ideal position of attitude but the leg rotated to 90 degrees. The idea is the rotate the heel forward so much, that the leg has to lift. Without changing the length of the leg or degree of the bend in the knee, you rotate upwards and achieve the line. This creates a very long, and the line goes slightly down from the knee.

The next school of thought is to achieve the attitude through passé. The concept of turnout is the same, but the goal is to keep the 90-degree line of the passé and rotate the hip back into the socket and achieve a tighter attitude. This creates of pressure on the hips, and if you don’t have ideal rotation and flexibility, it will mess your hips up. This creates a very hard line extending from the hips.

Things to avoid when getting to attitude devant? My big concern is the gripping of the quad. When the quad grips instead of lengthening or rotating causes a lot of tension at the hip flexor and the hip joint which unfortunately doesn’t allow the position to grow. Additionally, I dislike when people turn in as they bring the leg up, and then you see the heel or you lose sight the knee at side profile. Hip shifting is also a pet peeve. A lot of people sink into their supporting hip to get the leg up, or their hips aren’t strong enough to hold the position and their hips become wonky. If you are turning out from the hip, it should create a ton of tension to work within to keep the hips stabilized at all times. Avoiding turning in the standing leg, but if you are going to compromise anything in this position, I think slightly turning in the standing leg is the lesser of the evils.

But, I feel the most ideal “cheat” to maintain the technique and the shape of the position is to lift out of the hips and slightly stick your bootie out. NOT SPLAY our sit in your lower back but let the hips slightly tip forward. You have to have a very strong core to do this without looking ridiculous.

BONUS: Add the developpé front by rotating the heel long, and lengthening the back of the knee.

How to get a better attitude front? Get the Attitude Front Technique Tracker here.